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Easyrider 106 Compressors and Limiters

...d state designs, but provide that certain something that can't be found elsewhere.

Every compressor has its own personality, and engineers tend to have favourite models that they turn to again and again. The Drawmer DL221 is, in my opinion, a good, everyday, value-for-money compressor. It sounds pretty good, has all the controls you need, and falls in the right price bracket. But just because everyone else has one, that doesn't mean that you have to have one too. There are alternatives, and the Aphex Model 106 may just fulfil your requirements perfectly.

Aphex Systems Compressors and Limiters

Aphex is dedicated to the development of high-quality products for the professional audio, broadcast, fixed installation, touring-sound and home-recording markets. Through that dedication, Aphex has developed a number of industry-standard devices, such as the Compellor®, Dominator®, Expander/Gate™ and Expressor,™ plus the Model 1100 Two-Channel and Model 1788 Eight-Channel Ultra-Precision Remotely Controllable Microphone Pre-Amplifiers, and the Model 2020 Mk III Broadcast Audio Processor. Each product contains one or more of the over 30 proprietary inventions (patented or patents pending). A key element of all the dynamics processing products is the firm's state-of-the-art Voltage Controlled Attenuator, the Aphex VCA 1001.

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Memory Consoles - Memory-based consoles have become very popular in almost all larger installations, particularly theatres. These new types of controls have completely replaced preset consoles as controllers of choice. Used . . Memory consoles are preferable in productions where scenes do not change from show to show, such as a theatre production, because scenes are designed and digitally recorded, so there is les. Used . s room for human error, and less manpower is required to produce the same result.

Memory consoles have a bank of faders called 'submasters.' These submasters can be programmed to control a single

Compressors and Limiters

Audio compressors and limiters are a kind of specialist hardware used to either amplify the volume of quiet sounds or reduce the volume of loud sounds, by simply compressing the “dynamic range” of an audio signal. Audio compression is commonly used during live concerts, broadcasts and studio recording. Audio compressors and limiters, sometimes called a dynamic compressor, can manipulate the volume of sound by alternating the rate of compression through two basic functions – attack and release controls, which are also able to smooth the final effect of the audio output. There are many different kinds of compressors and limiters available, including very basic models with just a few simple knobs for attacking and releasing, and more advanced models which provide greater versatility when it comes to attenuating audio signals. Audio technicians place an extremely high value on compressors and limiters. An audio limiter is essential for managing the level of audio signals during recording sessions. If the volume produced by a piano for example, is not managed, the recording equipment could easily be overloaded when the pianist plays louder, impacting on the quality of the final recording. Similarly, when the pianist plays at a lower volume, audio compressors and limiters are needed to boost the volume level so that the signal remains consistent throughout. In addition to managing signal levels, compressors and limiters can also be used to create special effects and add an extra dimension to recordings. Audio limiters are able to compress dynamic range audio signals into a much narrower range, hence why they are sometimes called a dynamic compressor. The results of such audio compression include attaining a higher source signal from low volume sound, smooth and consistent tones, an increase in some musical instruments sustain and the ability to enhance the “punch” of certain instruments, such as guitars, bass and drums.